Intro to Othello
Othello; The Moor of Venice
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Historical Context: Renaissance Social Structure
Marriages: Typically arranged for wealth.
Women’s Status: Held lower status than men.
Social Position: Determined by birth; seen as a natural consequence.
Order of Things: Proper societal order results in harmony; disruption leads to suffering.
Great Chain of Being: Suggests a hierarchy among all beings.
Age of Exploration: Brought Europeans into contact with unfamiliar races, creating tensions.
A Brief History of the Moors
The term “Moor” comes from Mauri, an ancient tribe in what is now Morocco.
Their descendants converted to Islam shortly after its rise.
A Brief History of the Moors, continued
In 711, the Moors conquered Spain, ruling parts of Northern Africa and the Iberian Peninsula for about 700 years.
By 1492, the last Muslim stronghold of Granada fell to Christian Spain led by Isabella and Ferdinand, under a pact known as “The Capitulation of Granada.”
By 1502, many Muslims were either expelled or forced to convert to Christianity, with converts called moriscos.
Between 1609-1614, the remaining Moors were systematically expelled from Spain.
The Moors and England
The first recorded performance of Othello was in 1604, during a time of strained tolerance towards Muslims in Christian Europe.
Shakespeare connects Othello, a Moor, to North African/Spanish Muslims, establishing his context in Venice.
In Elizabethan England, Moors were depicted as either noble or monstrous, civil or savage, often initially accepted by society but later rejected.
Shakespeare’s Source
The narrative of Othello is based on a story from Cinthio's collection Hecatommithi, closely reflected in the play.
Only one character, “Disdemona,” is named in Cinthio's story, meaning “unfortunate” in Greek; others are referred to by titles like “the standard-bearer,” “the captain,” or “the Moor.”
Shakespearean Tragedy
Othello is classified as a tragedy.
Following Aristotle, a tragic hero rises to prominence and then falls, often leading to death and destruction.
Classical tragedy features opposing forces: tragic flaw (hamartia) and fate.
During the Renaissance, individuals felt they could control their fates, making the Elizabethan tragic hero more accountable for their downfall, emphasizing the loss of human potential.
Order and Disorder in Shakespeare
A recurring theme in Shakespeare's work is disorder.
Each play examines how disorder arises, how order is restored, and its implications.
The exposition (Act I) typically illustrates a social order that has been disrupted.
Order and Disorder, continued
Resolutions in tragedies are distinct from the celebratory nature of comedies (e.g., marriages in A Midsummer Night’s Dream).
Tragedies often conclude with the death of the main character, who struggles to reconcile the chaos they have caused.
Notably, the character who delivers the last line often signifies the restoration of order.
Frye's 5 Elements of Tragedy
Frye's Five Stages of Tragedy
Encroachment: The protagonist pushes boundaries, leading to mistakes and their downfall.
Complication: Events conspire against the protagonist, building tension towards tragedy.
Reversal: A moment of realization where the protagonist recognizes their misjudgments, steering them to a tragic fate.
Catastrophe: Displays the limits of the hero’s abilities, often highlighting wasted potential.
Recognition: Audience and sometimes the hero grasp the broader context of events, illuminating the irony in the protagonist's choices.
Features of Shakespeare’s Language
A. Blank Verse
Shakespeare predominantly uses blank verse; changes in this structure often indicate shifts in mood or character dynamics.
B. Figurative Language
He commonly employs similes and metaphors to enhance ideas and enrich imagery.
Look for cues of figurative speech like “like” or “as” to avoid confusion in interpreting the text.
Example of Figurative Language
In Act I.i, Iago describes Othello and Desdemona’s relationship in a derogatory manner:
Passage:
‘Zounds, sir, you’re robb’d; for shame, put on your gown;/Your heart is burst, you have lost your soul; Even now, now, very now, an old black ram/Is topping your white ewe. Arise, arise; Awake the snorting citizens with the bell,/Or else the devil will make a grandsire of you: Arise I say.
Analysis:
Iago's use of metaphors emphasizes racial themes, portraying Othello and Desdemona in an animalistic manner.
Labeling Othello as a devil suggests malevolence in his actions towards Desdemona.
Shakespeare’s Language
3. Motifs
Look for recurring themes:
Animals
Jealousy
Sight and darkness
The handkerchief
Magic
Evil and the devil
Othello: Dramatis Personae
Othello: The Moor
Brabantio: Desdemona’s father
Cassio: Honorable lieutenant
Iago: Villain and standard-bearer, ranks 3rd
Roderigo: Gullible gentleman
Senators, Montano: Governor of Cyprus
Various Sailors, Clown, messengers, herald, officers, musicians, and attendants
Desdemona: Othello’s wife
Emilia: Iago’s wife
Bianca: A courtesan
Othello
A brave Venetian soldier known for his honor, ultimately destroyed by Iago's manipulation.
Iago
One of Shakespeare’s most cunning villains, exploiting Othello’s trust while sustaining an appearance of honesty.
Malcontent: Exhibits discontent and bitterness towards his surroundings.
The name “Iago” relates to Santiago (St James), historically dubbed “St James the Moor Killer,” a relevant allusion within the play.
Additional Characters
Lodovico: Related to Desdemona
Gratiano: Brabantio’s brother
Duke of Venice: Ruler of Venice
Blanca: A courtesan in love with Cassio
Cassio: Othello’s supportive friend
Montano: Governor of Cyprus
Brief accounts of Brabantio, Desdemona, Emilia, and others involved in the story.